This R&D period has produced some key moments that we hope to develop further next year. The cast of 6 – 4 dancers and 2 violinists had not worked together as a group before- although some of them knew each other from other work they had done together. I had worked with the violinist Ruth Elder on a project for Dance United and Megan Saunders was in Without Warning at The Old Vic Tunnels last year. I am so aware that creating a good positive working environment helps to produce openness and vulnerability in the devising process, so we took time to develop movement connections between all the cast.I approached the rehearsal room with a huge amount of information about the performers reading habits, and with the support of Tim O’ Dell at Lambeth Libraries, had visited and spent time researching in them for two days prior to meeting up with the performers. Mary Ann Hushlak, the company dramaturg had interviewed each of the cast to identify their’ Desert Island’ reading choices, and these interviews connected with a whole range of their reading preferences and how they read also, giving us a slice or snapshot of them; this was hugely helpful in making the beginnings of a ‘map of thinking’ for me, in devising the work.

Allowing time for imaginative things to develop is vital at this stage, and having such a stellar cast, I knew extraordinary moments would happen practically all the time. I was keen not to pressure the situation and over produce the material- so these clips show a beginning point, and are not sequential. I know we want to make an hours show with an interval for libraries and arts centres as venues.